ponedjeljak, 08.11.2010.

Savoy Brown - Street Corner Talking (1971)(1991)

After 1970's Looking In album, Peverett, Roger Earl, and Tony Stevens left to form Foghat, leaving Kim Simmonds with yet another dilemma. But for Simmonds, things went a little smoother than he might have imagined, picking up piano player Paul Raymond, bassman Andy Silvester, and drummer Dave Bidwell, all from Chicken Shack. He also hired singer Dave Walker, who was the former frontman with the Idle Race, and together the new lineup recorded Street Corner Talking, one of Savoy Brown's finest moments. Gelling almost instantaneously, Walker's cozy yet fervent voice countered with Simmonds' strong, sturdy guitar playing, and an exuberant mixture of British blues and boogie rock prevailed. All of Street Corner Talking's efforts are solid examples of the group's blues-rock power, from the slick cover of Willie Dixon's "Wang Dang Doodle" to the deep feel of "All I Can Do" to the subtle strength of "Tell Mama," Walker's best-sung tune. The album's blend of sultry guitar blues and upfront rock & roll flavor give it a multi-faceted appeal, with every musician contributing his talents uniformly, which is something that's rather difficult to achieve after there's been a change to the personnel. Although they stayed together for the Hellbound Train album, Silvester was replaced by Andy Pyle for 1972's Lion's Share release, and a year after that Walker left to join Fleetwood Mac...Mike DeGagne

Codec: flac
Size: 290 MB
Genre : Rock
2000mustangs

Tracklist:

01 Tell Mama 5:15
02 Let It Rock (Rock And Roll On The Radio) 3:07
03 I Can't Get Next To You 6:35
04 Time Does Tell 5:35
05 Street Corner Talking 4:00
06 All I Can Do 10:54
07 Wang Dang Doodle 7:15
08 Tell Mama (Single Version) 3:03

Janis Joplin - The Essential (2CD Remaster 2003)

While generally considered to be one-third of the tragic troika of late-'60s rock -- along with Jim Morrison and Jimi Hendrix -- Janis Joplin has never been the subject of the extensive vault raiding that followed the deaths of her contemporaries. This well-paced two-disc set doesn't extend far beyond what most fans already know, although the previously unreleased live (at Woodstock) versions of "To Love Somebody" and "Kozmic Blues" do burn appropriately red-hot and cool. The collection's compilers have, however, done a nice job of remastering the classic recordings, punching up Joplin's remarkable voice without casting an artificial sheen over the top. That's particularly evident on the live material -- highlighted by poignant takes on "Flower in the Sun" and "Farewell Song" -- but also on the studio takes of lesser-known songs like "Women Is Losers" and "A Woman Left Lonely." Essential's 30 songs comprise tracks recorded during Joplin's stint with Big Brother & the Holding Company, as well as solo material; among them are her most widely heard songs, from the easygoing "Mercedes-Benz" to the rough-hewn "Piece of My Heart" to that shiver-inducing cover of "Summertime." It's a perfect way to celebrate what would've been Joplin's 60th birthday, and a nice kickoff to what Legacy promises will be an extensive reissue campaign. David Sprague

The Wallflowers - Collected (1996-2005)(2009)

The Wallflowers never quite were a singles band -- each of their albums had its own distinct flavor -- yet they had a tendency to distill the essence of their records on a handful of highlights. Apart from their 1996 breakthrough, Bringing Down the Horse, none of these were major hits, but Bringing Down the Horse had four blockbusters -- "6th Avenue Heartache," "One Headlight," "Three Marlenas," "The Difference" -- that provide a foundation for the band's first retrospective, Collected: 1996-2005. As the subtitle sests, this collection writes their gangly 1992 debut out of the record, concentrating on the time when the Wallflowers were just about the only rock & roll journeymen in America, cranking out sturdy singer/songwriter-driven classic rock. Collected has all their charting singles save their cover of David Bowie's "Heroes," originally released on the soundtrack to 1998's Godzilla, and wisely cherrypicks from their other three albums, offering a good overview of the band's appealing, dependable rock & roll -- an overview that acts as a good introduction but will also satisfy the needs of most casual followers. ~ Stephen Thomas Erlewine

Buffalo Springfield - Buffalo Springfield (4CD Remaster 2001)

Yes, they were only together a little more than a year and a half. Sure, they only managed to generate one hit single ("For What It's Worth"). But the legacy of Buffalo Springfield far outstrips mere mathematical formulae. Compiled and produced by cofounder Neil Young, this sprawling retrospective -- which retrofits the band's first two full albums with three dozen previously unreleased songs -- provides ample evidence of this short-lived supernova's effect on the rock universe. The first three discs are sequenced chronologically, from the band's earliest demos to their demise, while the fourth disc presents newly remastered versions of the group's first two albums, Buffalo Springfield (mono) and Buffalo Springfield Again (stereo), in their entirety. (Collector's note: Of the box's 88 tracks, 36 were previously unreleased.) Sparse, folky demo versions of early classics like "Nowadays Clancy Can't Even Sing" and the gentle "Flying on the Ground Is Wrong" distill the purity of the band's early sound. Enriched by the harmonies of Young, Stephen Stills, and Richie Furay, the songs curl subtly around the synapses, conjuring up visions of bucolic countryside that are soon punctuated by the Day-Glo tones of tunes like the raga rendition of "Buffalo Stomp." This expansive set provides a wonderfully nuanced balance between the back-porch friendliness of songs like "Good Time Boy" and the rougher edges of tracks like "One More Sign" (particularly effective in the demo version presented here) and the psychedelicized spelunking of the Byrds' borrowing "Mr. Soul" and Young's "Broken Arrow." The box is outfitted with a photo-heavy booklet that -- in addition to providing some eye-opening fashion "don'ts" -- captures the spirit of the Summer of Love in romantic-but-cogent fashion with a lengthy essay, detailed liner notes, newspaper clippings, and other nifty timepieces. David Sprague

Roy Buchanan - The Prophet - The Unreleased First Polydor Album (2004)

Roy Buchanan was one of America's true geniuses of the electric guitar. Even posthumously, he commands the ardent respect of his fellow guitarists and a devoted army of fans. The Buchanan sound is unique: heartbreaking, searing solos, trademark shimmering tone, gorgeous melodies and a mixture of lightning quickness and technical creativity that mark him as a wizard of the instrument. He was a pioneer in the use of controlled harmonics, and although this technique has been used by the likes of Jeff Beck, Robbie Robertson and ZZ Top's Billy Gibbons, all acknowledge Buchanan as the master. Raised in the small town of Pixley, California, Roy's musical fire was sparked at an early age. His father was a sharecropper and Pentecostal preacher and Roy's first musical memories were of the racially-mixed revival meetings his family would attend. Surrounded by gospel, R&B and country influences, it wasn't long before Roy expressed interest in playing an instrument. His parents sent him to the local lap steel guitar teacher, Mrs. Pressure, who had Roy picking out the Hit Parade favorites by the time he was seven years old. Six years later, Roy moved on to a Fender Telecaster. "I liked the tone," he said, "it sounded a lot like steel guitar." Soon thereafter, drawn to the blossoming R&B scene in Los Angeles, Roy ran away from home and headed for the big city. At only 15 years of age, he was taken under the wing of famed bandleader/producer/writer/arranger/impresario Johnny Otis. The young Roy studied the blues mastery of guitarists such as Jimmy Nolen (later with James Brown), Pete Lewis and Johnny 'Guitar' Watson. The late fifties and early sixties found Roy playing for and cutting a number of sessions with musicians as diverse as pop idol Freddie Cannon, rockabilly legend Dale Hawkins, and even Ronnie Hawkins (whose band, the Hawks, would later gain fame as the Band). During his stint with Ronnie Hawkins, Roy played guitar mentor to the group's then bass player, Robbie Robertson. Then, in 1962, Roy's trademark harmonics were introduced on “Potato Peeler,” his groundbreaking single with drummer Bobby Gregg. In the mid-sixties, exhausted by life on the road, Roy settled down in the Washington, D.C. area, started his own group, The Snakestretchers, and began a residency at the Crossroads Club in Blades Burg, Maryland. In 1971, already riding on word-of-mouth reputation that included accolades from Eric Clapton, Merle Haggard, the Rolling Stones and John Lennon (who made a personal pilgrimage to see Roy at the Crossroads Club), Roy "broke" nationally as the result of an hour-long National Public Television documentary. Entitled THE BEST UNKNOWN GUITARIST IN THE WORLD, the show won Roy a contract with Polydor and began a decade of national and international touring. He cut five albums for Polydor (one went gold) and three for Atlantic (one gold), while playing virtually every major rock concert hall and festival. The major labels gave him fame and fortune, but no artistic freedom. Finally, disgusted with the over-production forced on his music, Roy quit recording in 1981, vowing never to enter a studio again unless he could record his own music his way. Four years later, Roy was coaxed back into the studio by Alligator Records. His first album for Alligator, WHEN A GUITAR PLAYS THE BLUES, was released in the spring of 1985. It was the first time he was given total artistic freedom in the studio; it was also his first true blues album. Fans quickly responded, and the album entered BILLBOARDsS pop charts with a bullet and remained on the charts for 13 weeks. Music critics, as well as fans applauded Roy's efforts with accolades and plenty of four-star reviews. His second Alligator LP, DANCING ON THE EDGE, was released in the fall of 1986. The album won the College Media Journal (CMJ) Award for Best Blues Album of 1986. One year later, Buchanan released HOT WIRES, his third Alligator LP and the twelfth of his career. It was hailed by the CHICAGO TRIBUNE as "his best album ever." By this time, Roy's illustrious career had taken him from underground club gigs in the sixties, to international recognition and gold record sales in the seventies and worldwide tours in the eighties with the likes of the Allman Brothers. He even performed to a sold-out Carnegie Hall with label-mates Albert Collins and Lonnie Mack. Roy was thoroughly enjoying the creative freedom he received from Alligator. "Since coming to Alligator," Roy once commented, "I'm finally making the records that I've always wanted to make." Buchanan's skill, soul and technical innovations were nothing less than marvels to his contemporaries and admirers. Without his inventiveness, the landscape of modern guitar playing would be completely different. Buchanan died in Virginia in 1988. He was 48 years old.

Roy Buchanan - Messiah On Guitar - Live (2007)

The guitar wizard Roy Buchanan is in incendiary form on this live set, which features astonishing re-workings of rock and R&B standards such as "Green Onions" and "Peter Gunn," as well as a tribute to Jimi Hendrix with "Hey Joe" and "Foxy Lady," both of the latter providing an opportunity to compare the two guitar maestros' styles. Buchanan's signature "The Messiah Will Come Again," first recorded for his 1972 debut album, is transformed here into a mesmerizing blend of gospel, blues, psychedelia, and disturbing anguish. It's as powerful a guitar instrumental as you'll ever hear. Roy Buchanan was “the world’s best unknown guitarist” and one of America’s most soulful masters of the instrument. Gary Moore paid tribute to Buchanan on his “After The War” album, covering Roy’s signature tune: “The Messiah Will Come Again”. Buchannan’s sound is simply unique: heartbreaking, searing solos with a trademark shimmering tone and a mixture of snarls, wails and squeals that distinguish him as a wizard of the instrument...D. Jellinc

subota, 06.11.2010.

Cactus - Cactus (1970)(Remaster 2006)

Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players.

Cactus may have never amounted to anything more than a half-hearted, last-minute improvised supergroup, but that don't mean their eponymous 1970 debut didn't rock like a mofo. The already quasi-legendary Vanilla Fudge rhythm section of Bogert and Appice may have provided the backbone of the band's business cards, and soulful, ex-Amboy Duke Rusty Day brought the voice, but it was arguably former Detroit Wheels guitarist Jim McCarty who was the true star in the Cactus galaxy, spraying notes and shredding solos all over album highlights such as "You Can't Judge a Book By the Cover," "Let Me Swim," and, most notably, a manic, turbocharged version of "Parchman Farm." The fact that Cactus chose to tackle this classic blues song just a year after it'd been blasted into the fuzz-distortion stratosphere by Blue Cheer betrays -- at best -- a healthy competitive spirit within the early-'70s hard rock milieu, and at worst it sests something of a mercenary nature to Cactus' motives, but that's an issue for the surviving bandmembers to duke it out over in the retirement home. And we digress -- for the blistering closing duo of "Oleo" and "Feel So Good" (complete with bass and drum solo slots) easily certifies the Cactus LP as one of the best hard rock albums of the then brand-new decade, bar none. Too bad the illustrious members of Cactus would quickly lose interest in this band project and deliver increasingly mediocre efforts in the years that followed...D. Jellinc

Kin Ping Meh - No. 3 (1973)(Remaster 2002)

As far as I am aware, there were no other German bands like Kin Ping Meh, who chose their name in the Chinese language! In 1970, this quintet assembled in Mannheim: Werner Stephan (lead vocals), Joachim Schafer (guitar, piano, vocals), Fritz Schmitt (organ, piano), Torsten Herzog (bass) and Kalle Weber (drums). They played live extensively during their early years, performing a rough hard rock modeled on British bands like Deep Purple, Uriah Heep and Spooky Tooth. Soon, Kin Ping Meh were discovered by Polydor's talent scouts. Joachim Schafer left the band just before the recording of their first album. He was promptly replaced by Willie Wagner (guitar, harmonica, vocals), who joined the band in the Windrose Studio. Indeed, Wagner wrote the stand-out track of this album, the opening 11-minute 'Fairy-Tales', a haunting heavy rock song with long, 'progressive' guitar and organ solo parts. Even if you do not find this style attractive, you'll sense the great enthusiasm of the band. There were also some mellow, folky songs on the album, like 'Too Many People', recorded live and boasting an irresistible chorus. 'Kin Ping Meh' was produced by the experienced rock veterans Achim Reichel and Frank Dostal. The engineer was none other than Konrad Plank. The album is highly recommended for fans of groups like Epitaph, Zarathustra, Frame, etc. It's now quite rare (selling for more than 300 DM) as the first and only vinyl edition was only pressed at around 5,000 copies. Torsten Herzog and Willie Wagner left Kin Ping Meh in 1972. The band had already been expanded with Alan Joe Wroe (bass), Uli Gross (guitar, although he left again within months) and Gagey Mrozeck (guitar, ex-2066 & Then). 'No. 2' (1972) followed the path of its predecessor - it was filled with great quality heavy progressive rock. Besides their self-written material, Kin Ping Meh were also bold enough to make an 11-minute version of 'Come Together', culminating in a long instrumental jam - a highlight of the album! Fans of early Kin Ping Meh should also check out the double album, 'Hazy Age On Stage' (1991), featuring great live tracks recorded in Sprendlingen in January 1973 and also some studio out-takes from 1972. When vocalist Werner Stephan left in May 1973, it marked the end of Kin Ping Meh's first phase. Regrettably, none of their following albums could match their first two. Gagey Mrozeck recommended Geff Harrison (his old friend from 2066 & Then) as a replacement for Werner Stephan. The quintet of Harrison, Mrozeck, Schmitt, Wroe and Weber recorded 'Kin Ping Meh III' (1973) with added choir and brass. Unfortunately, most people find their 'new' sound far less appealing than their previous one. 'Virtues And Sins' (1974) was a further slide towards a more standard Anglo-American influenced rock. Schmitt left in 1975, and was replaced by Chris Klober (keyboards, ex-Curly Curve). He only participated on the double live album, 'Concrete' (1976) before the band fell apart. Geff Harrison set out on a solo recording career, but only with moderate success. Mrozeck and Weber embarked on an ill-fated attempt to keep the band going with Michael Pozz (vocals), Ron Sheepmaker (keyboards) and Chuck Trevor (bass), resulting in the sixth and final Kin Ping Meh album for Bacillus - a superfluous affair...D. Jellinc

srijeda, 03.11.2010.

Bryan Ferry - Olympia

There are two headlines for Olympia, Bryan Ferry’s 13th solo album. The first is that it’s Ferry’s first collection of primarily original material since 1994’s Mamouna -- of the ten songs only Tim Buckley's “Song to the Siren” is from another author -- the second is that among the many collaborators here are Brian Eno, Phil Manzanera, and Andy MacKay, all original members of Roxy Music, their presence sesting a return to the chilly art of Roxy’s earliest records. Neither headline tells the real story: Olympia is Ferry’s most seductive album since Avalon, a luxurious collection of softly stylized sophistication. Instead of pushing into new territory, Ferry focuses on refinement, polishing his signatures -- primarily songs so slow they seem to float, and also the occasional high-end piece of pristine pop-funk -- until they’re seamless, the textures shifting so subtly that when the chorus of “Heartache by Numbers” turns eerie, the change in atmosphere is almost subliminal. Such command of mood is a tell-tale sign of a quiet perfectionist, but Olympia doesn’t feel fussy; it’s unruffled and casually elegant, its pleasing familiarity reflecting the persistence of an old master honing his craft.

utorak, 02.11.2010.

Bruce Springsteen - The Promise

The Promise is a double-disc collection of 21 unreleased songs recorded during the period that eventually produced Darkness on the Edge of Town. It does not contain the original album, only the unreleased material. There is so much music here that Springsteen wondered whether or not much of it should have been released between 1975's Born to Run and 1978's Darkness. The sheer amount is surprising in and of itself. That said, given how much of this is first-rate Springsteen and the E Street Band, it's staggering. The booklet contains an essay by Springsteen, lyrics, and session photographs...Thom Jurek

ponedjeljak, 01.11.2010.

Fleetwood Mac - Rumours (1977)(2CD Deluxe Edit 2004)

I have owned Rumours before, both in the LP format and the original CD format. Obviously this album has been a favourite of mine for a long time, with a slight more understanding of the tension involved in making it as the years have passed by.What struck me, however, by hearing this new re-mastered version was the immense sound quality. Listening to Dreams the bass becomes so vibrant and alive with Stevie Nick's voice backed up with incredible harmonies with the addition of crisp guitar sounds and thumping drumming. On the next track, Never Going Back Again the guitar is spread in the mix givingmore… the listener a feeling of actually being involved with the playing. Much of the same can be described by most of the other songs on the album, making me for my part re-discovering it again. Never before had I noticed how great the production was, not only in regards of the sound quality but also how it was mixed, both simple but yet innovative.I took my old CD to compare the two versions, the hypothesis being that maybe this great sound had simply eluded me some years ago. The difference was, however, similar to hearing a worn cassette tape and a regular CD. The separation of instruments was not to be heard, a lack of depth was evident and the mix was muffled as if one were listening to a worn LP.There is also added material. Silver Springs, a single not included on the original version, has been tacked between what before was side A and B. A fine song and its odd inclusion actually does keep the flow of the album intact (I believe having it at the end would spoil the fine ending of the original). There is also a bonus disk consisting of demos of the songs. It is interesting hearing these demos, one can hear how good the simple versions are but yet how delicately Fleetwood Mac improved them in the studio. Of particular note is Brushes which is only the guitar playing of what became Never Going Back Again. One must, however, make sure to press the stop button before some jam session at the end of the disc begin, those are only for the most devoted. Thus from the standpoint of sound quality, this re-mastered version of Rumours is in my view a great buy. The bonus CD is a welcome addition and the artwork accompanying this version does this great album justice.

In 1975, a pair of hard-living, hard-rocking British blues rockers went eye-to-eye with a pair of sensitive L.A. singer-songwriter types -- and the rockers blinked. The bluesmen were Mick Fleetwood and John McVie, whose band, Fleetwood Mac, had first recorded in 1967. The Californians were Lindsay Buckingham and Stevie Nicks, a couple romantically and musically, who'd recorded an album as Buckingham Nicks. The two pairs, along with McVie's wife, Christine (a respected singer and songwriter in her own right who joined Fleetwood Mac in 1970 and then married John), teamed up and produced an album far more California sunshine rock than British blues. Following the grand success of their debut, Fleetwood Mac, the McVies broke up, as did Buckingham and Nicks, and the resulting romantic pressure-cooker -- coupled with Buckingham's flowering production talents -- produced Rumours, a tour de force that became one of the biggest-selling records ever made. "Here you go again," breathed Stevie Nicks near the start of the record, "you say you want your freedom." The emotional weariness captured in that line suffuses the album, notwithstanding the upbeat melodies and pristine, daring production. You also get Christine McVie's hit "Don't Stop" -- later a campaign theme song for Bill Clinton -- and arguably Buckingham's greatest track, a drum-driven cry at the death of love called "Go Your Own Way." Bill Wyman

The Who - Who's Next (1971) (2CD Deluxe Edit 2003)

This 2003 Deluxe Edition of the Who's classic 1971 album finds all nine original tracks newly remastered and features a treasure trove of bonus material -- live versions of the songs that Pete Townshend had intended to use as part of his shelved Lifehouse project. The six tracks appear on Disc 1, after the original nine from Who's Next, were recorded in New York with guest musicians including Leslie West and Al Kooper; two were previously unreleased ("Getting in Tune" and "Won't Get Fooled Again"). The second CD features 14 tracks recorded in 1971 at London's Young Vic Theatre by the Stones Mobile recording unit; all were previously unreleased. Additionally, this new package includes new updated liner notes by Townshend along with John Atkins original reissue notes and is housed in an eight-panel digipak...S. T. Erlewine

The Who - Live at Leeds (1970) (2CD Deluxe Edit 2001)

Japanese-only SHM-CD (Super High Material CD) pressing of this classic rock album. SHM-CDs can be played on any audio player and delivers unbelievably high-quality sound. You won't believe it's the same CD!

Anyone who owned the vinyl copy of Live at Leeds will barely recognize its digitized namesake. While the 1970 record offered a mere six selections, the 1995 CD reissue is fleshed out with a full 14 tracks. Reveling in the augmented Leeds prompts one to wonder why in the name of "Heaven and Hell" they didn't put out a double record in the first place. No matter. This Live at Leeds is actually superior to its revered predecessor. The Who are at their Maximum R&B peak here, bringing an almost proto-metal aggression to supercharged covers of "Young Man Blues," "Summertime Blues," and "Shakin' All Over" (all from the original record) and treating fans to originals familiar ("I Can't Explain," "My Generation," "Magic Bus") and less known ("Heaven and Hell," "Tattoo," "A Quick One"). An improved-upon classic...S. Stolder

Rushed out in 1970 as a way to bide time as the Who toiled away on their follow-up to Tommy, Live at Leeds wasn't intended to be the definitive Who live album, and many collectors maintain that the band had better shows available on bootlegs. But those shows weren't easily available whereas Live at Leeds was, and even if this show may not have been the absolute best, it's so damn close to it that it would be impossible for anybody but aficionados to argue. Here, the Who sound vicious -- as heavy as Led Zeppelin but twice as volatile -- as they careen through early classics with the confidence of a band that finally achieved acclaim but had yet to become preoccupied with making art. In that regard, this recording -- in its many different forms -- may have been perfectly timed in terms of capturing the band at a pivotal moment in its history. There is certainly no better record of how this band was a volcano of violence on-stage, teetering on the edge of chaos but never blowing apart. This was most true on the original LP, which was a trim six tracks, three of them covers ("Young Man Blues," "Summertime Blues," "Shakin' All Over") and three originals from the mid-'60s, two of those ("Substitute," "My Generation") vintage parts of their repertory and only "Magic Bus" representing anything resembling a recent original, with none bearing a trace of its mod roots. This was pure, distilled power, all the better for its brevity; throughout the '70s the album was seen as one of the gold standards in live rock & roll, and certainly it had a fury that no proper Who studio album achieved. It was also notable as one of the earliest legitimate albums to implicitly acknowledge -- and go head to head with -- the existence of bootleg LPs. Indeed, its very existence owed something to the efforts of Pete Townshend and company to stymie the bootleggers. The Who had made extensive recordings of performances along their 1969 tour, with the intention of preparing a live album from that material, but they recognized when it was over that none of them had the time or patience to go through the many dozens of hours of live performances in order to sort out what to use for the proposed album. According to one account, the band destroyed those tapes in a massive bonfire, so that none of the material would ever surface without permission. They then decided to go to the other extreme in preparing a live album, scheduling this concert at Leeds University and arranging the taping, determined to do enough that was worthwhile at the one show. As it turned out, even here they generated an embarrassment of riches -- the band did all of Tommy, as audiences of the time would have expected (and, indeed, demanded), but as the opera was already starting to feel like an albatross hanging around the collective neck of the band (and especially Townshend), they opted to leave out any part of their most famous work apart from a few instrumental strains in one of the jams. Instead, the original LP was limited to the six tracks named, and that was more than fine as far as anyone cared. And fans who bought the original LP got a package of extra treats for their money. The original album's plain brown sleeve was, itself, a nod and nudge to the bootleggers, resembling the packaging of such early underground LP classics as the Bob Dylan Great White Wonder set and the Rolling Stones concert bootleg Liver Than You'll Ever Be, from the latter group's 1969 tour -- and it was a sign of just how far the Who had come in just two years that they could possibly (and correctly) equate interest in their work as being on a par with Dylan and the Stones. But Live at Leeds' jacket was a foldout sleeve with a pocket that contained a package of memorabilia associated with the band, including a really cool poster, copies of early contracts, etc. It was, along with Tommy, the first truly good job of packaging for this band ever to come from Decca Records; the label even chose to forgo the presence of its rainbow logo, carrying the bootleg pose to the plain label and handwritten song titles, and the note about not correcting the clicks and pops. At the time, you just bought this as a fan, but looking back 30 or 40 years on, those now seem to be quietly heady days for the band (and for fans who had supported them for years), finally seeing the music world and millions of listeners catch up.The album was duly re-released on compact disc in its original six-track version early in the CD era. But the increasingly common practice of adding bonus tracks and going back to original source tapes eventually caught up with the Who. In the '90s, Live at Leeds was expanded twice, first as a superb 14-track single disc containing excerpts of their Tommy performance from that February 14, 1970, gig, along with all the non-Tommy music, and then in 2001 as a double-disc deluxe edition containing the entirety of the show. It's a treat to hear more (or all, depending on the edition) of this great performance, all in remastered sound, but there's something to be said for the original LP, which packed a lethal, lean punch quite unlike any other Who album. And what is equally amazing, hearing whatever form of the album one happens to have, is the nature of the performances -- one realizes, hearing them do "Substitute," not how much it sounds like the record (though it does), but rather how amazingly fully the Who of 1965-1966 captured their live sound in that record; neither the Beatles, for certain, nor even the Rolling Stones ever nailed their live sound quite so well on their studio sides. The same is true, in the expanded version, of "Tattoo," "I Can't Explain," "Happy Jack," etc., so that hearing this album -- superb as it is in its own right as a self-contained musical entity -- only elevated the level of respect one felt for the band across its entire recorded history. And then there were those extended jams, moving from "My Generation" and "Magic Bus" into new and expansive territory, and showing that numbers like "Sparks" and "Amazing Journey" on Tommy had not been side-filling studio indulgences, but honest studio captures of the kind of playing that Townshend, Keith Moon, and John Entwistle had been doing for years. And this album, especially in its original LP form and in the single-CD expanded version, also showcased exactly how much Tommy, and a year of performing it on-stage, had improved Roger Daltrey's singing in intonation, control, and sheer power. It was the greatest Who album heard up to that time, and one of the best live albums ever done by anyone -- and ironically enough, was a stopgap release, to give the band time to finish its next project, the film Lifehouse. Even more ironically, the latter would never get completed, but in salvaging it the Who would create Who's Next, an album that came as close to matching Live at Leeds as any studio recording ever could...B. Eder

Redbone - Redbone (1970) (Remaster Edit 2007)

Really great album. I enjoy it a lot. Takes me back to a less commercialized music scene where talent was still required. Which these guys have in abundance. They did a great job taking NA rhythms and putting them into contemporary music so everyone could enjoy them...B. Stickham

nedjelja, 31.10.2010.

Helloween - Metal Jukebox (1999)(12-trsck Remaster 2008)

1999 outing by the German heavy metal heroes, a covers album featuring interpretations of 11 of their favorite songs, including classics by Cream, Scorpions, Jethro Tull , Faith No More, Bowie, Alex Harvey, The Beatles, Focus and even ABBA! The Japanese edition includes their remake of Deep Purple's 'Rat Bat Blue' added as a bonus track, and also features a limited edition, full color CD-sized sticker of the cover art for the initial pressing only. 12 tracks total. 2008

Seminal power metal gods Helloween appear to have gotten rather bored after their amazing last album, Better Than Raw, and hence laid down an album full of recordings by other musicians. They crank out Scorpions, Jethro Tull, Beatles, Faith No More, and Cream songs, among others. First the surprises and successes. ABBA's "Lay All Your Love on Me," as strange as that sounds, comes across as a power metal radio ballad that carries a certain appeal with it, while they pour forth "White Room" by Cream with amazing, psychedelic sounding success. When they cover prog rock favorite Focus, and their endearing instrumental hit, "Hocus Pocus," with utter craziness and convincing success (complete with yodeling), one can't help but wonder if they are partaking in too many '70s extracurricular activities. When David Bowie, oops, I mean Andi Deris, sings "Space Oddity," you get a creepy feeling, because Deris appears possessed by the spirit of the man from Mars himself. Most of the songs work; those failing are the Beatles' "All My Loving," "Faith Healer" by Alex Harvey Band, and a few others. This album is fun, but like Blind Guardian's Forgotten Tales, it is not essential to the average listener. So if you are a diehard or just a sucker for cover albums then pop your money in the Metal Jukebox, kick back with a beer, and enjoy the party...Jason Hundey

Helloween - Better Than Raw (1998)(12-track Remaster 2007)

Never quite in the spotlight yet never quite forgotten, Helloween continued to record over a decade and a half after their debut album. And to some success, actually. Granted, that success was largely limited to Europe and Japan, but it was enough to sustain the group. And, weirdly enough, through sheer existence -- continual touring and recording -- Helloween accomplished something very rare indeed for metal bands in their second decade: they actually began to improve. They never quite managed to hit the peaks of Keeper of the Seven Keys, and the youthful energy of their first albums had long disappeared, but the band continued to refine its sound and push itself into new progressive territory. Better Than Raw is proof of that and arguably their best album of the '90s. There still are silly moments -- if you're not a hardcore fan, the "metal will never die" platitudes of "Falling Higher" will rub you the wrong way -- but the music is layered and unpredictable, ranging from metal anthems to metal ballads to neo-classical metal to neo-black metal. It's an ambitious set, and it's all the more impressive coming from veterans, not a bunch of newcomers. [Better Than Raw was reissued in 2006 in an expanded edition that included four bonus tracks.] ~ Stephen Thomas Erlewine

subota, 30.10.2010.

Fleetwood Mac - Rumours (1977) (SHM-CD Remaster 2009)

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing.

With the pop sense of Lindsey Buckingham and Stevie Nicks now leading the band, Fleetwood Mac moved completely away from blues and created this homage to love, Southern California-style. Each songwriter makes his or her presence known: Nicks for her dreamy, mystical reveries ("Dreams," "Gold Dust Woman:); Christine McVie for her ultra-catchy slogans ("Don't Stop"); and Buckingham for his deceptively simple pop songs ("Second Hand News," "Go Your Own Way"). "The Chain," written collectively, is the Mac at their most dramatic. But it's the ensemble playing, the elastic rhythms, and lush harmonies that transform the material into classic FM fare. --Rob O'Connor

In 1975, a pair of hard-living, hard-rocking British blues rockers went eye-to-eye with a pair of sensitive L.A. singer-songwriter types -- and the rockers blinked. The bluesmen were Mick Fleetwood and John McVie, whose band, Fleetwood Mac, had first recorded in 1967. The Californians were Lindsay Buckingham and Stevie Nicks, a couple romantically and musically, who'd recorded an album as Buckingham Nicks. The two pairs, along with McVie's wife, Christine (a respected singer and songwriter in her own right who joined Fleetwood Mac in 1970 and then married John), teamed up and produced an album far more California sunshine rock than British blues. Following the grand success of their debut, Fleetwood Mac, the McVies broke up, as did Buckingham and Nicks, and the resulting romantic pressure-cooker -- coupled with Buckingham's flowering production talents -- produced Rumours, a tour de force that became one of the biggest-selling records ever made. "Here you go again," breathed Stevie Nicks near the start of the record, "you say you want your freedom." The emotional weariness captured in that line suffuses the album, notwithstanding the upbeat melodies and pristine, daring production. You also get Christine McVie's hit "Don't Stop" -- later a campaign theme song for Bill Clinton -- and arguably Buckingham's greatest track, a drum-driven cry at the death of love called "Go Your Own Way."...Bill Wyman

petak, 29.10.2010.

Eddie Money - King Biscuit Flower Hour (1986)

Recorded at the Wiltern Theatre - Los Angeles CA 10/18/86

This unedited show was recorded at L.A.’s prestigious Wiltern Theatre, for the King Biscuit Flower Hour, a radio concert series that had been
broadcasting Eddie Money shows dating back to his first U.S. tour. This show would later emerge as a promotional-only live album serviced to radio stations while Money’s "Can’t Hold Back" continued to take off.

John Lennon - Power To The People - The Hits

Released as part of Apple/EMI†s extensive 2010 John Lennon remasters series, the single-disc Power to the People: The Hits covers familiar territory, but then again, that†s the point of this collection. It†s not designed to dig deep into John's catalog, it†s designed as the latest iteration of the canon, replacing 1997†s Lennon Legend, the last big-budget single-disc compilation. Power to the People is five cuts shorter than Lennon Legend, ditching album cuts "†Love†" and "†Borrowed Time,†" swapping the charting singles, "†Mother†" and "†Nobody Told Me,†" for the non-charting "†Gimme Some Truth†" and the actual number 18 hit "†Mind Games,†" but the end result is the same: Power to the People feels interchangeable with its predecessors because it is another collection with "†Imagine,†" "†Instant Karma,†" "†Whatever Gets You Through the Night,†" "†Jealous Guy,†" "†(Just Like) Starting Over,†" "†Watching the Wheels,†" "†Stand by Me,†" "†#9 Dream,†" "†Give Peace a Chance,†" "†Power to the People,†" and "†Happy Xmas (War Is Over).†" The remasters are excellent so if you are in need of a tight Lennon comp this is a good choice but if you already have a hits collection, there†s no reason to replace it. [There is also a Deluxe Edition of Power to the People which contains videos for all 15 songs, some of them original clips and some of them edits of footage assembled after the single†s initial release.]...Stephen Thomas Erlewine

nedjelja, 24.10.2010.

Roy Buchanan - Live In Japan - 1978 (2003)

2003 live release for the late blues rock guitarist features 8 tracks. Digipak.

Live in Japan (2003) is said to have been Roy Buchanan's favorite of all his platters, and ironically, it was never issued stateside. However, as word spread, the title became an essential addition to his discography. Fact is that it may have never come out at all, had there not been a loophole in Buchanan's contract with former label Polydor, giving them control over his non-North American output. Joining the guitarist for his 1977 tour of Japan are John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). They are likewise the core contributors to Buchanan's most recent studio effort, A Street Called Straight (1976), though no tracks from the album are represented here. Instead, the set consists of recent collaborations, definitive cover versions, and a few seminal Buchananclassics. The immaculate fidelity immediately separates Live in Japan from most other releases in his canon. The enthusiastic yet typically reserved Japanese audience is first treated to a laid-back and stretched-out reading of Booker T. & the MG's' "Soul Dressing." The backing trio provide a rock-solid bed for Buchanan's sinuous interjections and spacious melody lines. "Sweet Honey Dew" is a perfect vehicle for some incendiary string shredding, although the actual tune is somewhat of a derivation of a standard blues riff. Perhaps more fitting is the rousing rendition of Larry Williams' "Slow Down," uncovering the nimble accuracy accompanying the sonic kick in Buchanan's piercing fret work. Contrasting this is the lengthy jam on "Blues Otani," as the ensemble ably improvise in and around the guitarist. Live in Japan concludes with an intimate and affective "Sweet Dreams," which may well have been the artist's unofficial anthem, as his unique interpretation undoubtedly made it a signature piece. If you own but one concert recording of Buchanan, let it be this one, as you will not be disappointed...Lindsay Planer

Roy Buchanan - American Axe - Live In 1974 (2003)

More evidence of one of the world's best unknown guitarists .

The master of the Fender Telecaster, the late Roy Buchanan is commemorated on a archival CD release by Powerhouse Records. The CD, titled Roy Buchanan: American Axe Live in 1974, features highlights from two searing club sets Buchanan played over 30 years ago. All the material is previously unreleased. The music on this hour-long disc reveals Roy Buchanan at the height of his awe-inspiring powers, delivering soulful ballads, wrenching blues, and raw rock 'n roll for the small club audiences he preferred. Devotees of blues, rock, country, and jazz will find here the tone, technique and emotive power of a masterful performer whose work still overshadows those he influenced. It's clear from these recordings why guitarists and music industry insiders from the 1950's to this day include Buchanan among a handful of the most original and influential players. The CD's set list includes Buchanan classics such as "The Messiah Will Come Again" (a first-ever live version), his siganture "Roy's Bluz", "Hey Joe" (a tribute to Jimi Hendrix) and the hypnotic lament "Sweet Dreams". The balance of songs draws on classics from the golden age of American popular music, including "C.C. Ryder", "I Hear You Knockin'", Get Out Of My Life, Woman", and "Further On Up The Road", delivered in Buchanan's trademark fashion, seductive yet riveting, grooving and explosive. Phil Carson, author of the book Roy Buchanan: American Axe

Like Livestock, which was recorded the same year, American Axe displays Roy Buchanan's strengths and limits as a performer and recording artist. Livestock had to my mind three key tracks: "Roy's Blues", "I'm A Ram", and "I'm Evil", all among Roy's very best cuts ever. American Axe has three as well: "Roy's Bluz", "C.C. Rider", and "The Messiah Will Come Again". The two versions of "Roy's Bluz" display the absolute command and terrifying passion that Roy could draw from his Fender Telecaster. I prefer the first four minutes of the American Axe version, with its brilliant country-inspired and harmonic inventions (Roy even improvises another verse after singing the first three found on the studio version of "Roy's Bluz"). The Livestock version is astonishing during the last two minutes, displaying Roy's incomparable "engine revving" lick, so I prefer the ending of that version. "C.C. Ryder" has a stunning odyssey into country and jazz during the middle that Roy mustered at times, showing the influence he had on Danny Gatton, later the "World's Best Unknown Guitarist" in 1989. My last key track on American Axe, "The Messiah Will Come Again", I think, is the epitome of what Roy achieved: I have heard no less than five versions of this song live, sometimes played without a solo, sometimes with, but it never fails to give me notice that Roy played with a depth that very few players could ever hope for. The rest of the tracks on American Axe range from very good ("Too Many Drivers") to fair (a too-long "Done Your Daddy Dirty", a too-reticent version of "Sweet Dreams"); the material is often limited by vocals, but the enthusiasm by John Harrison and Byrd Foster is commmendable...D. Jellinc

Roy Buchanan - Guitar On Fire: The Atlantic Sessions (1993)

A ragin' sampling of the legendary axeman's late '70s Atlantic sides!

The 16-tracks on this compilation are from Roy Buchanan's trio of mid-1970s titles: A Street Called Straight (1976), Loading Zone (1977), and You're Not Alone (1978). After a less than personally (or professionally) satisfying stint earlier in the decade with Polydor Records, Buchanan teamed up with Atlantic, who helped him get out of his pending contract with the former. Under the direction of Arif Mardin, the guitarist assembled the same instrumental support combo he'd used during his concurrent and practically incessant touring -- John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). The core quartet are augmented by all-stars Andy Newmark (drums), Will Lee (bass), Billy Cobham (percussion), the Brecker Brothers horn section, and even backing vocals from former Rascals member Eddie Brigati. The ferocious opening whine of "Running Out" is followed by Buchanan's nimble and liquefied tone, which enhances his otherwise bold and unabashed emotive leads. Specifically, the center solo exemplifies his remarkable ability to ably turn from a finely honed and sinister sound, to a divergent string stretching bluesy intonation. The reading of Jimi Hendrix' "If Six Was Nine" is nothing short of an inspired augmentation of the original. While Mardin's production on A Street Called Straight has been roundly criticized, there is a distinct progression from his previous studio releases, which were consistently hit-or-miss. Loading Zone is represented on this collection by no less than six of the LPs nine tunes. The effort was overseen by jazz bassist Stanley Clarke, and yields some thoroughly excellent material. Of top priority is the stretched-out Memphis groove on "Green Onions," sporting contributions from Booker T. & the MG's personnel Steve Cropper (guitar) and Donald "Duck" Dunn (bass). Of equal note is "Ramon's Blues," which commences this set, with riff upon riff of smouldering rounds of fretwork from Buchanan. You're Not Alone builds upon a spacey motif, right down to the astronaut headgear depicted in the cover artwork. Within the grooves are the languid and restrained "Fly...Night Bird," as well as a pair of diverse cover versions of rock classics "Turn to Stone" (Joe Walsh) and "Down by the River" (Neil Young). After a blistering take-off, the former disintegrates, thanks to the rather uninspired smooth jazz arrangement, which is highlighted by Buchanan's intense fret board flurries. Vocalist Gary St. Clair fronts the soulful "Down by the River," which is nowhere as essential as the live (and otherwise unavailable) rendering included on the two-disc Sweet Dreams: The Anthology (1992), or the decisive, if not definitive interpretation on Buck & the Snake Stretchers (1971). The ante is significantly raised, however, on the intense "Supernova," which aptly reasserts Buchanan's proficiency. Although there is a bit of overlapping material, Guitar on Fire: The Atlantic Sessions (1993) is a great companion to the aforementioned Sweet Dreams: The Anthology as a worthwhile critical assessment of Roy Buchanan's sadly unrated status, reiterating his moniker as "The World's Best Unknown Guitarist."... L. Planer

From the first steep bend of "Ramon's Blues" to the last haunting note of "The Messiah Will Come Again" this album is packed with the incredible guitar work of Roy Buchanan. Aptly named "Guitar On Fire", this album is full of fast licks, screaming solos and bluesy tunes. This compilation covers three albums from the late seventies of the late, great Tele-master. It's unfortunate that Buchanan was, and remains, pretty much unknown because his guitar work is spectacular. Most of the songs on this album are instrumentals, which showcase his ability with the axe. "The Heat of the Battle", provides a taste of things to come as he mixes up his solos with the melody. The song, like all his work, is full of raw power and energy. The music flows from his fingers at jaw dropping speed. He's not all about speed though. On "Hidden" he slows it down and plays airy notes with massive amounts of delay, and sliding between notes to give it a spacey feel. The great bassist, Stanley Clarke, provides the low frequencies on the tune, as well as a couple of others. Buchanan covers tunes by Booker T., Joe Walsh, Neil Young and Hendrix. He does a great job on "Green Onions" with the M.G.'s behind him.
It was unfortunate that Buchanan took his life so early. He played as if he was born with a guitar in his hand, and was able to coax sounds of that beat up Telecaster that others would be hard pressed to do even if they were running it through a band saw. This man was a shear force in his playing. He could play loud, or soft, quick or slow. I haven't heard anyone like him. If you're a fan of guitar, then check Buchanan out. You'll be pleased...R, Diederich

subota, 23.10.2010.

Kiss - Gold (2005)(SHM CD Remaster 2008)

Japanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.

Value for money (2 CD's - 40 tracks - Cheap as chips) and track selections are excellent with everything from everything worth having from their early and by far best period. Forget 'Crazy Nights' and 'Animalize' etc..when they were trying too hard to fit in with what was around at that time, this is what you need to buy 'KISS GOLD - 1974 to 1982' good time american rock with tracks from every album (sixteen in total) in chronological order including the four solo albums and two brilliant live albums. I have all the early KISS albums on vinyl and just wantedmore… a good compilation CD and this is the one - So if you want to know what Gene Simmons did and how he made his millions before he did 'Rock School' get this!!...D. Jellinc

Solomon Burke - Nothing's Impossible

It's all but impossible to make a bad record with Solomon Burke; as a vocalist, the man is simply a force of nature, and all you have to do is point him in front of a microphone and let him do his stuff and you'll have something worth hearing. But coming up with accompaniment that's worthy of Burke's talents isn't quite as simple, and for a man who cut his teeth working with the likes of Jerry Wexler and Bert Berns, finding the right producer in this day and age is no simple matter. Nothing's Impossible teams Burke with another legend of Southern soul, the great producer, arranger, and songwriter Willie Mitchell (best-known for his work with Al Green) who had been after Burke to make an album with him for years. One listen to Nothing's Impossible confirms that Mitchell's instincts were right on the money; this music has just the right heft and texture for Burke, rich, strong, and gospel-influenced R&B that's sturdy enough to support Burke's earth-shaking vocals while giving the star of the show enough room to move comfortably. Mitchell's subtle, expressive use of strings and horns is very much in evidence here, and the rhythm section cuts a deep, implacable groove. The church has always been one of Burke's strongest vocal influences, and on Nothing's Impossible, Mitchell and his studio crew allow Burke to raise up as much Sunday morning fervor as he needs; on longer numbers like "Dreams" and "It Must Be Love," Burke stretches out like a preacher hitting a groove in front of a congregation, and hearing the King of Rock and Soul get the spirit is a remarkable thing. Burke and Mitchell contributed to the songwriting on these sessions, with both men bringing their A game, and though the notion of Burke covering Anne Murray's hit "You Needed Me" might sound dire, once you hear him do it, it's hard not to be awestruck at the way he brings the old warhorse to life. The sad irony of Nothing's Impossible is that after decades of trying to lure Solomon Burke into his studio, Burke showed up in time for what proved to be Willie Mitchell's final production project, as Mitchell succumbed to heart failure a few months before the album was released. But if this record is Willie Mitchell's final musical offering, Solomon Burke made certain that the man closed out his career on a high note; this is old-school R&B that's smart, passionate, and powerful, and proves the King of Rock and Soul still rules his kingdom with a sure hand. ~ Mark Deming, Rovi

Solomon Burke - Home in Your Heart - Best of (2 CD Remaster 1992)

Digitally remastered by Ted Jensen, January 1992.

This double-CD set covers highlights from Solomon Burke's Atlantic career, from his first hit, the groundbreaking country soul of "Home in Your Heart," to later 1960s Southern soul sessions in Memphis. This enterprising minister, mortician, and father of 21 children had a successful '60s run on the R&B charts, and HOME IN YOUR HEART highlights the consistent quality of both his voice and his material. The first disc is more pop-oriented; the second focuses on Burke's unstoppable R&B talents and distinctive country soul bent, begging the question of why this intensely likeable and adaptable singer couldn't sustain a successful music career through the '70s and '80s. Particularly endearing is "I Wish I Knew How it Would Feel to Be Free" with its late-'60s emphasis on equality, peace, and understanding. "Party People" conjures the ghost of Sam Cooke, while "I Feel a Sin Coming On," apart from having a great title, is quintessential country soul, ushering in a group of songs underlining Burke's church-oriented side such as Joe Tex's "Meet Me in Church" and Eddie Floyd's "Someone is Watching." For fans of 1960s R&B who prefer a little country and a little church in their Memphis soul stew, HOME IN YOUR HEART is a sure-fire winner. Import two CD collection from the Soul legend. Without question, Solomon Burke is the most unfairly overlooked singer of Soul's golden age. This definitive double CD compilation proves it, including all of his best recorded for the Atlantic label between 1962 and 1968: the insanely accusatory "The Price," the Nashville Sounding "Just Out Of Reach," the romantically devout "Hanging Up My Heart," and more than three dozen others, all of them as Wilson Pickett-hard or, when it's called for, Sam Cooke-sweet as needed, and always drawing on the intense emotional testifying Burke had refined as a boy preacher. Warner.

Without question, Solomon Burke is the most unfairly overlooked singer of soul's golden age. This definitive double CD proves it, including all of his best recorded for the Atlantic label between 1962 and 1968: the insanely accusatory "The Price," the Nashville Sounding "Just Out Of Reach," the romantically devout "Hanging Up My Heart," and more than three dozen others, all of them as Wilson Pickett-hard or, when it's called for, Sam Cooke-sweet as needed, and always drawing on the intense emotional testifying Burke had refined as a boy preacher. --David Cantwell

srijeda, 20.10.2010.

Juicy Lucy - Juicy Lucy (1969) (Remaster 2010)

Digitally remastered edition of the classic 1969 debut album featuring one bonus track: 'Walking Down The Highway'. Formed out of the ashes of the legendary group The Misunderstood, the band featured Ray Owen, Glen Campbell, Chris Mercer, Neil Hubbard, Keith Ellis and Pete Dobson. One of the first signings to Vertigo Records, this debut album was a fine work and spawned their classic interpretation of Bo Diddley s 'Who Do You Love?' , a Top Ten UK hit.

If any one performance can be said to encapsulate all that Juicy Lucy portended, as their career got underway with the new decade of the '70s, it was "Who Do You Love?" The band's first single, spinning off their debut album, it was as fast and mean and dirty as any record could have been, a breakneck tour through the bayou swamps and dirt-track roads of the American South, powered by a guitar to make your fingers bleed. And it gave the band a U.K. hit that still sounds fresh today. But Juicy Lucy were no one-trick ponies. True, their debut album is remembered as much for its artwork (a mostly naked, fruit-draped lady) as for its content, but step inside and the group was locked firmly, and gleefully into the free-freak movement of the age -- while Chuck Berry's "Nadine" was fed through a Hell's Angels nightclub jukebox "Are You Satisfied" emerged a festival chant spread out over six-and-one-half minutes, as mantric as (almost) anything the Edgar Broughton Band was doing at the time. The band's American roots are seldom far from the surface, of course: "Mississippi Woman" dripped oozing, cracked croak blues, and "Chicago North-Western" essentially offers up a history of the Midwestern railroads, while Glen Campbell's steel guitar breathed Americana over everything it touched. But no matter how powerful Juicy Lucy may have been, it could not paper over the cracks that were already forming across the lineup, and by the time the band came to record its next album, the group that cut this one was already long gone. One can only dream of what they might have achieved, had they stuck together...Dave Thompson

Steel guitarist, Glenn Fernando Campbell, was the star behind this band. He'd joined them from The Misunderstood. Their vinyl zenith is usually considered to be their first album which contained a number of tight, well constructed songs, including a fine cover of Bo Diddley's Who Do You Love?, which also took them into the 45 Charts. It came on the now highly collectable spiral Vertigo label in an attractive gatefold sleeve. Sadly it was downhill thereafter, their fortunes were hardly helped by several personnel changes. Paul Williams, ex-Zoot Money, came in on vocals, replacing Roy Owen on the second album, but the result was a disappointment. None of the original line-up survived for their fourth and final effort, Pieces. The line-up for this included Andy Pyle, whilst he took a brief break from Savoy Brown. The final verdict must be that they failed to achieve their early promise...D. Jellinc

Jo Jo Gunne - Bite Down Hard (1973)(2003)

Bassist Mark Andes left the band before their sophomore effort, but the band kept rockin’, thanks to a thoroughly road-tested sound and legendary producer Bill Szymczyk’s recording genius. Includes "Ready Freddy," "Roll over Me," "60 Minutes to Go," "Rock Around the Symbol," "Broken Down Man," "Special Situations," "Take Me Down Easy," "Wait a Lifetime," and "Rhoda." A Collectors’ Choice Music exclusive!

Bite Down Hard is Jo Jo Gunne's best album. Great production, great songs, and a great flow, moving from strength to strength. This CD contains the best song they recorded: Roll Over Me. Back when I played the LP though, I always started at track 2, as Ready Freddy sounded awful in 1972 and still does. What a downer, and what a way to begin. Jay had a voice right in line with other vaguely sexless vocalists of that time, but here he just sounds like a eunuch. Yeech. But play Roll Over Me with that dreaded volume knob as far to the right as your aged ears (and maybe aged neighbors as well) can bear. Not just nostalgia, not just pining for a hazy past, but downright solid rock and roll. These guys could boogie. It sounds exquisite, and moves through 3 more excellent cuts...J.C. Clark